Feeling Further than Physical Fantasy

Donne has a remarkable writing style unique from other poets of his time. Each of his poems is comprised of massive amounts of writing instruments such as: similes, metaphors, alliteration, and punctuation to paint a more lucid picture of what he is trying to say. In many of his poems, Donne also uses complicated rhyming schemes as well as alternating between poetic meters. For example, in “The Sun Rising” is metered in pentameter, dimeter, as well iambic tetrameter.  However, “A Valediction Forbidding Mourning” is atypical in that although many writing instruments are used, the rhyme scheme is a very simple ABAB pattern. Also, instead of interchanging meters, he simply uses iambic tetrameter throughout the poem. In accordance with the rest of his writing, the simplicity of his rhyming scheme as well as how it is metered is done purposefully in order to communicate a certain message.

Beginning in line 25, Donne uses a metaphor comparing their love to a compass to show that their love is everlasting. He writes, “And though it in the centre sit,/ Yet, when the other far doth roam,/It leans, and hearkens after it,/ And grows erect, as that comes home” (line 29). Although the two points are separated they are a part of the same object, meaning him and his wife are a part of the same soul. Although space will separate them, he will always “end where he begun” (line 36). A simile is also used in line 24 when he compares him and his wife’s soul to gold showing that their souls are not being separated, rather, stretched and elongated. “Our two souls therefore, which are one,/ Though I must go, endure not yet/ A breach, but an expansion,/ Like gold to aery thinness beat” (line 20). Gold can be thinned if it is pounded, but it will always be the same consistency, just like although their souls will be stretched by the distance it will never be separated.

Another tool Donne utilizes throughout the poem to communicate his thoughts is alliteration. “Whilst some of their sad friends do say” (line 3), and “Dull sublunary lovers' love” (line 13) are just two examples of the many in this poem. Alliteration supports his writing by stressing certain lines in the poem to better convey an idea.

Finally, and most noteworthy, Donne uses a very simple rhyme scheme of ABAB. He uses this in order to communicate that their love is not complicated. It need not be thwarted by distance, but always remain very pleasant and simple. Metered in only iambic tetrameter, this also stresses the same point. The rhythm of the poem is consistent and never changes, just like when they are separated their soul and love will never change.

REBELUTION lyrical sequence

Reggae is not usually the first genre that comes to mind when I think of love songs; however, “Rebelution,” the first album by Rebelution, is a lyrical sequence incorporating atypical, yet extremely interesting themes of love. One of the most intriguing parts of the album is the very relaxed tone it carries throughout the songs. For example, in “Safe and Sound” the lyrics write, “Yea this is the kind of sound that I want to hear, Yea this is the kind of vibe that I want to feel.” It is a very loose approach to feeling love that is hard to find in other genres. Although many typical feelings of love are found throughout the songs, such as: realizing everything you’ve wanted is right in front of your eyes, working for what you love, and never having enough time, the overriding tone of relaxation still makes this a very interesting and unique album.

Weed 3 Rumination

Female Pioneer

                Mary Wroth’s Pamphilia to Amphilanthus highlights her complex theories of love during an age when women had little freedom of speech and self expression.  Wroth was able to break the gender barrier and compose a sequence of sonnets that shed light on a woman’s perspective of love. Her style of writing is modeled much off of Sir Philip Sydney’s Astrophil and Stella, and works well to communicate her dilemma between reason and passion. This sequence of sonnets is significant, for she is the first woman to compose her rather cynical and multifarious ideas about love.

                The first sonnet communicates many of her ideas about the power of passion. In lines 7 and 8 Wroth writes, “And at her feet, her son, still adding fire To burning hearts, which she did hold above” (p.1457).  She is saying that desire is beginning to consume her. Her burning heart represents that the passion she feels is being held above her, out of her control. This is further iterated in line 12 when Wroth writes, “He her obeyed, and martyred my poor heart” (p.1456). She is a prisoner to her love, and passion is beginning to conquer reason.

                Many instances in her sequence of sonnets highlight her negative view on love. In sonnet 68, lines 1-3, she writes, “My pain, still smothered in my grieved breast, Seeks for some ease, yet cannot passage find To be discharged of this unwelcomed guest:” (p.1459). Her flaming heart that she referred to in the first sonnet cannot be eased by simply writing. Her language is describing love as harming her and filling her with false hope.

                Sonnet 77 references a labyrinth. Wroth writes, “In this strange labyrinth how shall I turn?” (p.1460). In Greek mythology, a Labyrinth refers to a maze-like structure which contained a half man, half bull creature. I feel as if she is saying she is trapped in a maze and does not know which way to turn. The bull refers to her desires, and the man refers to reason. She goes on to write about the different directions she could turn, and how each way is either dangerous or suspicious or shameful (p.1460). Wroth uses negative adjectives to describe each of the directions, further demonstrating her negative outlook on love. She feels as if love is trapping her in this maze and no matter which way she turns, there seems to be a disapproving outcome.

                It is clear through many of her sonnets that Wroth does not view the complexity of love in a positive fashion. Although this sonnet sequence is remarkable, for it is the first known published sonnet sequence by a woman, her writing is rather depressing. I did not expect her to write in such discouraging language; however, I feel as if it reflects the struggles of women at the time. She had to choose between desire and reason, and no matter which she chose, she would either be viewed in a negative light or be unhappy.